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The topic of digital transformation in our country has had a major impact on both society and the economy, with all its sectors being a paradigm for them. At the same time, the digital transformation of our country is one of the most important components of the National Recovery and Resilience Plans. This fact is also due to the position on which Romania is ranked within the hierarchy based on the Digital Economy and Society Index (European Commission, 2021. Referring to it, we observe a less favorable position of our country, ranking 27th out of the 27 member states of the European Union (European Commision, 2022) with an annual growth lower than the other countries and less convergent. Thus, in order for the European Union to fulfill its objective of the digital decade, Romania must create the ideal context for a significant change in the pace of training and acquisition of basic digital skills. We therefore observe how the introduction of digital technology has corroborated the way tourism companies assert themselves. Digital technology has become an invaluable business tool widely used in the travel and tourism sector Lee & Wicks (2010). We are talking about an economic-social phenomenon reflected in one of the basic sectors of many nations, whose expansion was particularly pronounced in 2019, 2020, as a result of the collapse left in this industry by the COVID19 pandemic. Digital transformation represents a substantial challenge for both organizations and national economies, being a topic that has sparked interest for academic studies and researchers. Starting from this necessity and carrying out a review of the existing works on the market, it was found that there are no studies related to the digitalization level of tourism businesses in Romania. Thus, the present work evaluates, measures and quantifies the level of digitization of small and medium-sized enterprises in the field of tourism, with Băile Felix resort in Bihor county as a working sample. [ABSTRACT FROM AUTHOR]

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In this paper I will present the customs regarding the Hungarian reformed funeral songs in the area by the stream Nádas, an area that is located in the heart of Kalotaszeg in Romania. The paper follows a theoretical and a practical thread. In the theoretical part I examined the funeral song-material of old Hungarian song collections, while the practical part describes my visits to a number of villages with significant folk traditions, inhabited by Hungarians, where I collected and summarized the musical traditions associated with funerals. In this paper I will shortly report on my findings, observations and experiences. [ABSTRACT FROM AUTHOR]

This paper proposes to analyze those procedures, compositional techniques and means of artistic expression of Franz Liszt, which are aimed to reflect and to embody the ethical and aesthetic values of macabre and obstiné. The analyzed opuses are four piano dances, dating from Liszt's late composition period. The piano pieces are: Csárdás macabre, Csárdás obstiné, Mephisto-Walzer Nr. 3 and Bagatelle sans tonalité. These laconic, concentrated and bizarre compositions show also a diabolical virtuosity, due to their Mephistophelian program. A few of the compositional techniques used for the musical expression of the macabre and obstiné character are already known from the Wiemar-period, but there are a few new lisztian procedures, which occur in these late pieces, and which increase progressively the distances between his style and Romanticism. [ABSTRACT FROM AUTHOR]

In the year 1889 a Gepid grave was accidentally discovered at Apahida (a village near Cluj-Napoca), containing an important ritual grave furnishing of gold items. (Abb 4-9). Ancient texts and archaeological discoveries reveal that after the battle from 454 the Gepidae partially or wholly retreated from the Tisa plain to Transilvania (the ancient Dacia). (Abb 1-3). From the time of its first publication the text from the ring nr. 3 has been known as OMHARVS, being interpreted as a name given to a king or a prince or to a high ranked personality in the Gepid society. But neither history nor archaeology or German lingvistic has so far confirmed the existence of such a personality, or the German character of the name, respectively. The contradictory opinions concerning the text as well as the lack of resolved analogies (Abb 10-11) determined the author (N. Gudea) to tackle the text from another point of view. Based on the hypothesis that the treasure to which the ring belongs constituted a betrothal or a marriage gift coming from the Byzantine Empire, the author asserts that the ring nr. 3 might be a marriage ring. For demonstrations the author (N. Gudea) analysed a series of Byzantine marriage rings, marriage belts/chains with medallions (Abb 12-17) bearing Christian symbols or images, connected with marriage as well as marriage congratulatory expressions typical for the respective times. In this way he accomplieshed a typology of the rings having marriage representations and Christian symbols accompanying these representations and inscriptions (Abb 18). In the author's oppinion these early Byzantine marriage congratulatory expressions on rings and medallions could be grouped this way: - simple congratulatory expressions: omonoia/omonua (understanding), haris (good luck), ygia (health), evxi (fidelity); - compound wishes/congratulatory expressions: ex theou omonoia (understanding given by God), ex theou haris (good luck received from God); complex congratulatory expressions: ex theou omonoia, haris, ygia (from God understanding, good luck and health). Perhaps the Byzantine manufacturer who produced the ring, had to concentrate/ abbreviate this complex formula in order to find room for it on the bezel of the ring. Th e author proposes the reading of the inscription in this belief and this way: a. the cross is the symbol of Jesus Christ, who unites the pair (bride and bridgegroom); b. the text was divided in three parts, each being completed in the way of marriage congratulatory expressions. So, the lecture/reading of the inscription is: + (ex theou) OM(oni)A HAR(is) VG(ia) (from God (come) the understanding, the luck and the health) Unfortunately neither the ring itself, nor the inscription and abbreviation type has analogies in the archaeology of early Byzantine times. But the typology of the letters, the mixture of Latin and Greek letters as well as the structure of the treasure did not contradict such an interpretation. [ABSTRACT FROM AUTHOR]